Ossessione

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Cast & Crew

Massimo Girotti
Gino Costa

Clara Calamai
Giovanna Bragana

Juan de Landa
Giuseppe Bragana

Dhia Cristiani
Anita

Vittorio Duse
L'agente di polizia

Michele Riccardini
Don Remigio

Michele Sakara
Il bambino

Elio Marcuzzo
Lo spagnolo

Luchino Visconti
Director

Luchino Visconti
Screenwriter

Giuseppe De Santis
Screenwriter

Gianni Puccini
Screenwriter

Libero Solaroli
Producer

Domenico Scala
Cinematographer

Mario Serandrei
Film Editor

Giuseppe Rosati
Original Music

Gino Franzi
Art Director

Gino Franzi
Set Decoration

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Critic Reviews for Ossessione

Audience Reviews for Ossessione

• Jun 23, 2016

  Visconti's first film is a marvellous fatalistic work that goes beyond the crime thriller genre conventions it employes to tell its story. It is an adaptation of Cain's novel The Postman Always Rings Twice, but unlike the more straightforward adaptations of the film by Hollywood, it manages to go much deeper in character development and social commentary. It also manages to create an aesthetic quality that anticipates neorealism and enriches the plot with details that give the film a slower pace but elevate the story's themes to existential sophistication. Notably, the additional sub-plot with the 'Spaniard', apart from the possible homo-erotic elements, gives to Gino (Massimo Girotti) a dillema between two ways of life: bohemian freedom and an almost christian loving of others in need (he buy's Gino a ticket for free) on the one hand, and Giovanna's conformist worldview that seeks money and a place to stay on the other. However, Visconti never judges his characters in a moralizing manner. The wonderful and raw performances by Massimo Girotti and Clara Calamai help a lot in creating such believable characters and not simply one-dimensional cliches such as those we can see a lot in later Hollywood film noirs. Here there is no femme fatale, who plots in the darkness like a spider; Giovanna is simply a woman. Her machinations are simplistic and flawed and she tries hard to keep the relationship going after the murder. For example, Visconti cleverly never tells us whether she really knew whether her husband had a life-insurance. Thus, he deliberately passes a chance to make her the mastermind that played Gino for a fool. She has also some touching moments like when she eats in the kitchen alone, reading the newspaper befor falling asleep. Visconti even gives some metaphysical touches in the film, like in the scene where the husband goes outside to kill some noisy cats, while the wind is blowing and the lovers are hugging secretly. It is wonderful seeing a director finding a voice with his first film. It is a classic; it feels modern and hasn't aged (apart from some conventions like the panning of camera as a seexual metaphor and such). On the contrary, sometimes it feels more raw than new films; and yet it remains poetic and humanistic deep down.
  George M Super Reviewer
• Jan 23, 2010

  Visconti's directoral debut is a cinematic milestone both in noir and neo-realism. Brilliant adaptation of The Postman Always Rings Twice, depicting the descent of two lonely souls into lust, avarice, and desperation. The use of light and shadow emphasize the character development. The finale is one of the most ironic scenes in film history (omitted from the american versions).
  Stefanie C Super Reviewer
• Feb 04, 2009

  Massimo Girotti is the handsome young drifter who falls for the beautiful wife (Clara Calamai) of a roadside restauranteur. Through a progression of lust, adultery, envy and obsession we witness the spiraling decline of morality and the untimely death of one unsuspecting husband. Viewed with an 'American eye', <i>Ossessione</i> seems a bit long-winded and meandering but Visconti's telling is nothing short of remarkable. The director's command of light and camera angles enables him to set a dark mood that is as much a tangible presence as any of the film's characters. A tragic tale masterfully told.
  Randy T Super Reviewer
• May 24, 2008

  this italian adaptation of the postman always rings twice predates both the american version and double indemnity. i have to say i think i prefer it to the turner/garfield film and it doesn't hurt that massimo girotti looks like a young paul newman :) visconti's first film is a near masterpiece
  Stella D Super Reviewer

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